헤밍웨이의 "자아통합감"(ego-integrity) 재건의 맥락에서 읽는 『노인과 바다』

김미정 ( Mijeong Kim ) 한국현대영미소설학회 2016 현대영미소설 Vol.23 No.2

Earnest Hemingway is truly seen as one of the great American 20th century novelists. His The Old Man and the Sea (1952) won the 1953 Pulitzer Prize and was cited as a reason Hemingway won the 1954 Nobel Prize; it is Hemingway`s last major work of fiction that was published during his lifetime. This paper emphasizes on the fact that The Old Man and the Sea has been written during Hemingway`s severe depression. Although Hemingway`s manic-depressive illness was the genetic inheritance, it became more severe as he grew older. Thus, it seems ironic that Hemingway created such an idealistic character like Santiago, who personifies honor, courage, endurance, and faith, considering the commonly shared opinion, ``the hero of a Hemingway novel is Hemingway.`` Based on the idea that Hemingway`s writing can be seen as an adaptive defensive strategy for dealing with painful moods and suicidal impulses, this paper explores how Hemingway could rebuild his ``ego-integrity`` by devoting himself to the writing of The Old Man and the Sea. If Santiago, an aging Cuban fisherman who struggles with a giant marlin, is Hemingway`s alter ego, I will investigate how Hemingway struggled with perpetual anxiety, doubts, disappointments, and uncertainties-that is, how Hemingway`s initiation into ``old age`` is portrayed in the novel-by examining Santiago`s achievement of ego-integrity first.

헤밍웨이 작품속의 역동성 연구

이길구 한국중앙영어영문학회 2008 영어영문학연구 Vol.50 No.2

Ernest Hemingway could collect various sources to write his works from the travels and many experiences. To evaluate his works rightly, there are many important things which are worthy of attention in both his travels and experiences. When he was a reporter at the Kansas City Star, he was trained for not using superfluous words. In Paris years, he could learn how to write a story like a painting through the iceberg theory and it had a strong influence on his works. Hemingway learned “the modern space conception” from iceberg theory, which are charactered by solidness, endurance, grotesqueness, simplicity, enclosure, expansion, and omission. After he was influenced by the painting technique, Hemingway could create his iceberg theory. The definition of the iceberg theory is as follow: one eight of the iceberg is above water and seven eighths of it is under water. Like this iceberg principle, a writer should omit and eliminate unnecessary parts and details of a story. After “Up in Michigan” in which the use of photographic realism is obvious, Hemingway used different techniques in his works. This change of technique in Hemingway’s could be formed from the travels and influences he accepted from the people and works he encountered. Hemingway tried to minimize the explanation and descriptions about the main theme as did, and to transmit the themes through clear and concrete nouns. But while this method can have simple structure and excellent visual effects, it can also cause overly simple and awkward sentences. To solve this problem, Hemingway used staccato sequence of motion and facts, and repetition technique to achieve rhythmic style which successfully reduce the stiffness of his sentences. As Hemingway tried to write his novels by using the iceberg theory, readers also need to consider the theory to understand what he says in his novels. When Hemingway tried to write his works without considering the effects of the iceberg theory, he failed to create a critically successfully work. when Hemingway wrote For Whom the Bell Tolls, Across the River Into the Trees and To Have and Have Not, these were not considered to be successful from a critical standpoint of Hemingway's own style. Those novels were critical of society and For Whom the Bell Tolls has political undercurrents. The themes of the works were not suitable for delineating his real aesthetic theme, the matter of perpetuity of human beings. Under the iceberg theory, social and political stories cannot be effectively described. After writing a series of works unfavorable to critics, he wrote The Old Man and the Sea which demonstrates the general effects of iceberg theory such as painting effects of style, objective words, image words, effects of blank, forward and backward movements of narrative pattern, and the sense of rhythm. In conclusion, the iceberg and can help readers understand the themes and characteristics of his style. The style of Hemingway is feat that demonstrates overcoming the limitation of expression of prose and transmits a powerful consciousness of the theme of a novels without particular depiction. Hemingway could enlarge the domain of novels by taking the influence of other arts into his style.

Ernest Hemingway’s Transitive Views of Death

Jiang, Jindi,Baek, Nak-Seung(백낙승) 강원대학교 인문과학연구소 2015 인문과학연구 Vol.0 No.46

헤밍웨이의 문학은 자신이 직접 경험한 세계에 바탕을 두고 있다. 이것은 거짓을 금기시하고 진실을 전달하기 위한 작가정신에서 유래하는 것으로 볼 수 있다. 이러한 작가정신은 죽음을 대면하는 주인공들의 행동양태에 잘 반영되어 있다. 죽음에 대한 그의 태도를 그의 소년, 중년, 그리고 노년의 경험에 비추어 작품별로 무지의 단계, 수용의 단계, 초월의 단계로 나누어 고찰해 보는 것은 헤밍웨이 연구에서 의미 있는 작업이다. 헤밍웨이는 소설창작 초기에 죽음의 실체에 대한 무지로 인하여 주인공의 입을 통해서 자신은 영원히 죽지 않는다는 환상을 보인다. 죽음을 거부하는 그의 자세는 「인디언 캠프」와 「청부살인자들」에서 처음 나타난다. 헤밍웨이의 중기 소설 작품인 『무기여 잘 있거라』에서는 자신이 혼신을 다해 사랑했던 여주인공 캐서린 바클리가 출산하다 죽음을 맞이하는 생물학적 덫의 엄연한 현실을 목도하고 하느님의 존재에 대한 회의감과 더불어 인간은 죽음 앞에서 무기력하다는 인식을 드러낸다. 이 단계에서 헤밍웨이는 제1차 세계 대전에 참전한 경험으로 인해 육체와 정신면에서 모두 상처를 입고 전쟁 이전의 환상을 버린다. 헤밍웨이는 후기 작품인 『누구를 위하여 종은 울리나』와 『노인과 바다』에서 의미 있는 죽음을 택하는 로버트 조던의 초월적인 자세와 극기심을 지닌 어부로서 최선을 다하면서도 모든 생명체의 신성함을 깨닫는 산티아고 노인의 범애정신을 통해 참된 삶의 길을 제시하고 있다. This paper aims to illuminate Hemingway’s transitive views of death in his main works. By writing about death, Hemingway paradoxically conjures up the significance of survival and the value of true life, increasing the strong tension of the will to live decently. Based on his experiences in childhood, manhood, and old age, Hemingway’s views of death can be classified into three stages: the denial of death in “Indian Camp” (1924) and “The Killers” (1926), the acceptance of death in A Farewell to Arms (1929), and the sublimation of death in For Whom the Bell Tolls (1940) and The Old Man and the Sea (1952). “Indian Camp” and “The Killers” in Hemingway"s first writing stage show the denial of Hemingway’s early death consciousness. At the second stage, Hemingway displays his idea of indifferent acceptance of death which implies that death cannot be conquered in A Farewell to Arms. At the last stage, Hemingway portrays man’s undefeated noble spirit leading to immortality in For Whom the Bell Tolls and The Old Man and the Sea. At this period, Hemingway shows his belief that humans should overcome the terror of death courageously without self-pity to fulfill a meaningful life, and ultimately achieve human decency by realizing a noble life conquering the fear of death.

생태학적 관점에서 본 헤밍웨이 연구

백낙승(Baek, Nak-Seung) 강원대학교 인문과학연구소 2013 인문과학연구 Vol.0 No.39

This paper aims to reevaluate Hemingway"s works in ecological perspective, not by traditional approaches. Ecological approach to literature is essentially designed to illuminate the writers" concern about Nature by defining the relation of living things to their environment and to each other. As Hemingway seemed not to be interested in dealing with social problems, but in presenting how to live and die decently like a human being, many literary critics have neglected his sense of social responsibility. Therefore, to properly grasp Hemingway"s social responsibility as a writer, we need to take a close look at Hemingway"s ecological attainments acquired from "The Agassiz Association" in his childhood. Agassiz" ecological guide deeply affected Hemingway"s literary as well as his scientific education, which definitely serves to instill his ecological view of life in his works. In many of Hemingway"s works, the mountains, clear water, and pure air stand for the virtues to which man aspires. They are generally associated with rebirth and peaceful dignified life, which are in sharp contrast to the plains, rain, polluted air and water which represent suffering, disease, indignity, defeat, disaster, and a mechanized civilization. Hemingway makes deft use of scenery and weather to match the tone of his protagonists" dramatic scenes in ecological perspective. At this point, it may be safely assumed that Hemingway"s hard-boiled style includes ecological implications for several reasons. His style is deliberately limited to concrete things, words, actions, with as few false abstractions as possible. Such a distrust of contaminated verbal abuse is closely related to his interest in nature conservation and honest men"s lifestyles. His ecological concern can be found in his outdoor activities such as hunting, fishing, bullfighting, and making love amid natural surroundings, and engaging in a war. It is in The Old Man and the Sea that Hemingway managed to embody ecological themes most artistically. The protagonist Santiago"s ecological ethics is closely related to the writer"s view of life. Santiago refers to the marlin he hooked with much difficulty as a friend or a brother. He feels really sorry for the great fish. In the course of fishing, he comes to realize that all creatures in Nature are his friends. Santiago restrains himself from fishing recklessly, catches fish only for maintaining his livelihood, and accepts all creatures" reason for being with humility. Uncorrupted, earthy people like Santiago are ecologically in accord with Hemingway"s code. Hemingway"s ecological themes are far removed from Occidental dichotomous view of Nature and Man, and they reflect Oriental Buddhism and ecological symbiotic ethics.

‘길 잃은 세대(Lost Generation)’의 자전적 회고록 - 어니스트 헤밍웨이의 『파리는 날마다 축제(A Moveable Feast)』(1964)

김성수(Sungsoo Kim) 한국리터러시학회 2022 리터러시 연구 Vol.13 No.5

This book review is based on the ‘Roaring Twenties’ or ‘les Années folles’ described in Hemingway’s autobiographical memoir of his days in Paris, A Moveable Feast. The purpose is to read the literary self-portrait of Hemingway’s youth as he walks the streets and writes, stops by restaurants to eat, and meets colleagues and senior literary figures while drinking alcohol. Hemingway’s A Moveable Feast is a story about the artists Hemingway interacted with during his time in Paris in the 1920s, his thoughts on literary writing, his own creative method, living and living in Paris, and traveling to neighboring cities. The memories and sketches of the landscape unfold in each chapter like a documentary film or like a panorama, stimulating the readers’ sensibilities. In that sense, this book is a text that allows us to look into Hemingway as a writer’ and ‘Hemingway as a human’ from both sides, and is a gateway to Hemingway’s entire literature and an interesting autobiographical story of Hemingway’s youth, from which we can infer the main theme of his literary life. We could call it a memoir. A Moveable Feast can be said to be a three-dimensional self-portrait in Paris in the 1920s that fully shows Hemingway’s life, love, literature, spiritual breathing and prose struggle with artists who lived at the same time.

헤밍웨이의 실패한 작품 연구

이길구 ( Kil Ku Lee ) 한국현대영어영문학회 2010 현대영어영문학 Vol.54 No.4

Hemingway`s heroes Robert Jordan, Richard Cantwell, Thomas Hudson were deeply related with defeatism. They are unsuccessful heroes, it seems. In Hemingway` works, the heroes of them have been deepened and widened. The iceberg theory can be regarded as one of the devices that can help readers understand the themes and characteristics of his style. Hemingway could enlarge the domain of novels by taking the principle of the iceberg theory into his style and accomplish the works which possess eternity derived from the implication of the fourth and fifth dimensions. Hemingway` novels can be characterized as stories that cab be transmitted visibly and audibly. Robert Jordan, Richard Cantwell, Thomas Hudson, seem to be Hemingway`s egoism. Their value of life is, it seems, Ernest Hemingway`s.

Hemingway Goes to Hollywood : Film Adaptations of Hemingway's Novels

Jeong-meen Gye(계정민) 계명대학교 인문과학연구소 2006 동서인문학 Vol.0 No.39

The movie versions of Hemingway's novels has been often disappointing at best and horrible at worst. As a visual medium, film relies often too much on what is above the surface, and a writer of great, yet subtle, textual ability such as Hemingway would not transfer mediums well. Except this fundamental problem, further hindering adaptations of Hemingway's novels was the narrow-sightedness of studio executives who insisted on formulaic plots and pat resolutions, and a fickle public and callow screenwriters. The requirement that any difficulty be resolved for the audience damned every adaptation of America's greatest twentieth-century novelist. In A Farewell to Arms (1932), like so many other virtually identical movies of the early thirties, Fredric is a conventional Hollywood romantic lead in this movie. None of the internal conflict that he experiences in the novel makes it into the film. To Have and Have Not (1944) is a seeming sequel to 1943's Casablanca to catch the Casablanca lightning in a bottle for a second time. Hollywood molded Hemingway's great, textually deep, "The Short Happy Life of Francis Macomber" into a proscribed romance, The Macomber Affair (1947). The Hollywood version of Hemingway's seminal novel The Sun Also Rises (1957), eliminating the fact that the characters are damaged more internally than externally and thus removing the ultimate conflict in the novel, the characters against themselves, transforms into a rather mediocre romantic movie.

헤밍웨이의 『무기여 잘 있거라』: 반전 소설의 양상을 중심으로

문상영 국제언어인문학회 2015 인문언어 Vol.17 No.1

This paper attempts to read Ernest Hemingway's A Farewell to Arms (1929) as an antiwar novel. Hemingway was seriously wounded while serving as a Red Cross ambulance driver in the Italian front during the First World War. In spite of his rather short war experience, Hemingway determined to write his experience into a novel about the First World War. After years of assiduous research, particularly about historical events in the Italian front, Hemingway wrote a novel that incorporated his own war experience. By the time he wrote A Farewell to Arms, Hemingway's earlier romantic and glorified view of the war evolved into a bitterly critical one that conveys the meaninglessness of the First World War, particularly stressing the unprecedented scale of human casualties and destruction brought on by the war. Like his previous work In Our Time (1925), A Farewell to Arms highlights the theme of separate peace. Frederic Henry deserts the war after witnessing the absurdity of the execution of Italian officers on the Tagliamento River. Deserting the war and finding no solace in religion or family, Frederic and Catherine Barkley seek their separate peace in their intense love against all odds. Catherine seems more brave and mature in love than Frederic who tends to be self-centered. The death of Catherine is at once tragic and controversial enough to invite female critics of Hemingway's gender representation. Nonetheless, my argument is that Hemingway, by focusing on the tragedy experienced by people embroiled in the war, succeeds in making his novel a representative American antiwar novel of the time.

헤밍웨이의 『노인과 바다(The Old Man and the Sea)와 알렉산드르 페트로프의 동명 애니메이션과의 크로스미디어 스토리텔링

박미령(Mee Ryoung Park) 한국노어노문학회 2021 노어노문학 Vol.33 No.2

알렉산드르 페트로프는 현대 러시아를 대표하는 애니메이터로 미국이나 일본의 상업적 애니메이션과 달리 노르슈테인으로 대표되는 러시아 예술 애니메이션의 전통을 이어가고 있다. 페트로프는 컴퓨터를 즐겨 사용하는 현재의 애니메이션 트렌드와는 달리 글라스 위에 손가락으로 유화를 그리는 “페인트 온 글라스” 방식을 사용해서 애니메이션을 만든다. 그는 헤밍웨이의 유명한 소설 『노인과 바다』를 영상화하여 2000년 아카데미 단편애니메이션 상을 받으며 세계적인 명성을 얻게 된다. 러시아 애니메이터로서는 최초의 수상이었다. 이 애니메이션은 페트로프가 오랫동안 준비했던 작품으로 캐나다의 지원을 받아 헤밍웨이 탄생 100주년을 기념하는 작품으로 1999년에 만들어졌다. 페트로프는 <노인과 바다>를 통해 헤밍웨이와 대화를 시도했다고 인터뷰에서 이야기했다. 이런 대화는 크로스미디어 스토리텔링의 기본적인 목적에 정확히 부합한다. 크로스미디어 스토리텔링은 원작이 있는 작품을 영상으로 ‘다시 쓰기’하는 방식이지만 단지 글인 원작을 그대로 옮기는 것에 그치지 않고, 원작의 작가와 영상의 작가 간의 대화를 통해 재구성하는 과정이 요구된다. 페트로프는 헤밍웨이의 의도와 메시지를 파악하고 영상 언어로 애니메이션 <노인과 바다>를 재구성했다. 페트로프는 생동감 있는 노인 산티아고의 형상을 구현하기 위해 여러 어부의 모습을 참조하고 결국에는 자기 장인의 형상을 바탕으로 노인을 그렸다. 영상에서 노인 산티아고와 청새치 및 상어와의 사투, 청새치와 상어의 생동감 있는 움직임, 광활한 바다는 역동적이면서 사실적으로 관객에게 전해진다. 사실적이면서 예술적인 미장센과 더불어 헤밍웨이의 원작을 효과적으로 전달하고 있는 편집 방법은 ‘메타모포시스’이다. 메타모포시스는 디졸브를 바탕으로 한 장면전환의 기법으로 A에서 A´로 전환되는 몰핑과 A에서 B로 형상이 전환되는 워핑이 있다. 페트로프는 대부분이 산티아고의 생각과 독백으로 채워진 이야기를 메타모포시스 기법을 통해 헤밍웨이의 의도를 효과적으로 전달할 수 있었다. 페트로프는 헤밍웨이가 유작으로 남긴 이 작품의 유명한 말 “인간은 파멸당할 수는 있을지 몰라도 패배할 수는 없어.”라는 인간 불굴의 정신과 용기, 자연에 대한 사랑과 순응을 잘 표현했다. Aleksandr Petrov is an animator who represent modern Russia. He continues on the traditions of Russian artistic animation as best represented by Yuri Norstein, deviating from the commercial animation of the United States or Japan. Unlike the trends in animations of using computers, Petrov uses his fingers to paint pastel oil paintings on glass, using the “Paint-on-glass” film technique to create animation. He made a film of Hemingway"s famous novel The Old Man and the Sea, which won The Academy Award for Best Animated Short Film in 2000 and gave him international recognition. The first Russian animator to win this prestigious award, Petrov prepared for this film at length, and was given support from Canada to commemorate what would have been Hemingway’s hundredth birthday. Petrov, during his interviews, mentioned through The Old Man and the Sea, he tried to converse with Hemingway. These conversations fit exactly with the purpose of cross-media storytelling. Although cross-media storytelling is a form of “re-writing” an original piece of work into a video, it is not just the transfer of medium. It is also a process of reconstruction through the dialogue between the author of the original work and the director of the film. Petrov, fully understanding Hemingway"s original intent and message, reconstructed The Old Man and the Sea in visual language. Petrov wanted to capture the Old Man Santiago in a lively manner, and referred to many fishermen to do so, but ended up drawing the Old Man based on the image of his father-in-law. In the film, the battle between an aging but experienced fisherman Santiago and Marlin and the sharks, the lively movements of Marlin and the sharks, and the expansiveness of the sea are conveyed to the audience in a dynamic and realistic way. In addition to the realistic, but artistic mise-en-scène, editing method of “Metamorphosis” was used to effectively convey Hemingway’s original intentions. “Metamorphosis”, technique of scene changes based on dissolve, uses morphing to go from A to A’ and uses warping to go from A to B. During scenes mostly filled with Santiago’s thoughts and monologue, Petrov was able to effectively convey Hemingway’s intentions using “Metamorphosis”. Petrov well expressed the human’s indomitable spirit and courage, as well as love and adaptation to nature that is the famous quote of Hemingway’s last major work, “A man can be destroyed but not defeated”.

앤더슨의 『와인즈버그, 오하이오』와 헤밍웨이의 『우리들의 시대에』에 나타난 여백의 미학

이영애(Yi, Young-Ae) 강원대학교 인문과학연구소 2013 인문과학연구 Vol.0 No.36

본 논문은 미국의 대표적인 단편집인 셔우드 앤더슨의 『와인즈버그, 오하이오』와 어니스트 헤밍웨이의 『우리들의 시대에』를 문체와 주제면에서 접근하여 비교, 분석하는데 목적을 둔다. 기존에 두 작품에 대한 연구는 활발히 이루어져 있으나 이 두 작품을 함께 연계하여 분석한 연구는 아직까지 이루어지지 않고있다. 헤밍웨이보다 20년을 앞서 살았던 앤더슨은 헤밍웨이에게 많은 영향을 준 작가 중 한 명으로 꼽을 수 있다. 『와인즈버그, 오하이오』와 『우리들의 시대에』는 여러 단편을 하나로 묶어 놓았다기 보다는 단편마다 등장하는 주된 인물인 조지와 닉의 일상을 파노라마처럼 엮어놓은 작품이라고 할만큼 연계성과 통일성을 보여주는 공통된 특성을 보인다. 앤더슨과 헤밍웨이는 언어에 대한 불신으로 늘어진 만연체보다는 상징을 통해 간결하고 함축적인 문체를 차용하고 있어 주제의 전달이 강렬하다. 앤더슨의 작품에 등장하는 손, 닫혀진 창문, 방, 사무실 등 닫힌 공간은 곧 외부와의 단절을 의미하여 그 안에 있는 사람들의 소외된 상태를 보여준다. 헤밍웨이에게도 방이나 빈 벽은 역시 고립을 상징한다. 앤더슨과 헤밍웨이는 회화적인 기법을 이용하여 마치 지도나 그림을 보는 듯한 효과를 준다. 작가들이 가진 언어에 대한 불신은 생략에 이어 침묵하게 만든다. 조지와 닉의 침묵은 앤더슨에게는 여백의 미를, 헤밍웨이에게는 빙산이론과 같은 생략이 주는 미를 탄생시키게 만든다. 조지와 닉은 단편집의 첫 작품부터 마지막 작품에 이르기까지 다양한 부류의 사람들과의 경험을 통해 성숙함으로써 앤더슨과 헤밍웨이가 인간에 대한 긍정성을 피력하고 있음을 증명한다. 조지는 와인즈버그를 떠나 새로운 출발을 하고 닉은 소극적인 어린아이에서 주체적인 성인으로 성장함으로써 당시 불운한 시대상에서 벗어나 꿈을 그리며 정신적 방황에서 탈출한다. The purpose of this study is to analyze Sherwood Anderson"s Winesburg, Ohio and Ernest Hemingway"s In Our Time from the perspectives of style and theme. In his greatest collection, Winesburg, Ohio, Anderson focuses on the grotesque characters who are hopeless and isolated. Anderson, as a mentor to Hemingway, picks up clues from Gertrude Stein"s prose experiments and develops his own aesthetic of simplicity. The influence of Winesburg, Ohio on In Our Time is palpable. After meeting Anderson and reading “Loneliness,” Hemingway develops an aesthetic theory that monumental singularities provide the depths of meaning. Hemingway"s iceberg theory is based on “a discontent with the dominant noisiness of the culture.” The iceberg is a cultural symbol and celebrates the power of omission. Anderson and Hemingway use such symbolism as omission, simple sentences, and figurative objects. Anderson and Hemingway distrust meaningless words, so George and Nick become silent. Winesburg, Ohio and In Our Time are consciously unified works, not at all fragmentary. George achieves romantic longings for the new city, departing Winesburg. With the unified consciousness, Nick comes to terms with the problem of marriage and his fear of fatherhood and he represents Everyman. George and Nick are not confused young men any more. It is worth stressing that Winesburg, Ohio and In Our Time prove Anderson"s and Hemingway"s genuine creativity.